Who Are We?

Performing Arts Lodge (PAL) Stratford is a volunteer-based Canadian charitable organization dedicated to the provision of affordable housing, social assistance and other services to local members and associates of Canada’s professional and performing arts community who are in need of assistance by reason of low income, age or disability.

PAL Stratford was established as a non-profit organization in 2002 and in 2005 was registered as a Charitable Organization (86363 2881 RR0001). PAL Stratford is one of eight Chapters of PAL Canada; others are located in Halifax, Ottawa, Toronto, Winnipeg, Calgary, Edmonton and Vancouver. Each Chapter is an independent organization.

The "Places, please" capital fundraising campaign is seeking community support to retire the mortgage on the recently opened affordable housing units at 101 Brunswick Street, Stratford.

What Do We Do?

The principal object of all PAL organizations is to provide affordable housing to those fifty-five years and older who are, or were, associated with Canada’s professional and performing arts communities. PAL’s goal is to assist senior members of our community in living independently and securely.

PAL Stratford is already providing services to the community through Supporting Cast, a volunteer outreach group, which offers confidential support to retirement age or ill members. Services include assistance in dealing with local social and community agencies, as well as offering companionship, check-up phone calls, rides to appointments and running errands. organization. Supporting Cast also organizes group activities, including a weekly coffee and conversation hour at a local restaurant.

A Brief History

In October 1999, Tom Patterson, Stratford Festival Founder and Herbert Whittaker, Critic Emeritus for the Globe and Mail, spearheaded the inception of PAL Stratford, using the PAL Toronto Lodge as a model.

They recognized that the Stratford Festival had a substantial legacy: an aging theatre and arts community whose members wished to continue living in and around Stratford. As well, there are others in the professional and performing arts who have also chosen to make their home in Stratford.

True to Tom’s vision, PAL Stratford’s long-term goal is to provide affordable congenial housing for these valued members of the Stratford community. Our primary need is to find a building or a site that can be used to provide this kind of facility.

Over the years we have been involved in a number of different projects: twice with different owners of 500 Ontario Street, the land immediately west of the Arden Park Hotel as well as with the owner of 210 Water Street. We seriously considered Falstaff School when it was available. In 2005 we made an unsuccessful bid for City-owned property on Queensland Drive.

We recently opened an affordable housing unit PAL Place at 101 Brunswick Street, Stratford.

Statement of Support for PAL Stratford

A sanctuary, a safety net, a home, a community, PAL Place Stratford will be there for those of our own who find themselves in times of need during and at the end of careers that can be uncertain and insecure.

Note to Stratford & Shaw TheatreProfessionals & Friends of PAL: You can add your endorsement by clicking the linkbelow to send us an email. We will add your nameas soon as possible after we receive your email.

Music and Theatre World to Pay Tribute to Late Toronto Musicians’ Association Executive Director

Toronto, ON – Toronto’s artistic community will turn out in force on January 12, 2015 to pay tribute to the late Jim Biros, the beloved executive director of the Toronto Musicians’ Association (www.tma149.ca ) who, after a valiant struggle with cancer, passed away on September 19 at the age of 66.

A Life in the Arts: A Tribute to Jim Biros is to be held at the Panasonic Theatre in Toronto. Proceeds from the event will be directed to PAL (Performing Arts Lodges) Canada (www.palcanada.org/ ) and the TMA Members’ Assistance Fund, organizations with which Jim was closely associated.

Jim Biros’ unbridled enthusiasm for the arts, and his tireless support and devotion to artists’ well-being, endeared him to all that knew him.

“The disarming gentleness of his smile was the first thing that struck me,” says Canadian Opera Company Music Director Johannes Debus. “His conviction that music and the arts are vital parts of human life and belong at the heart of our society shone through in everything he did and said. His selfless dedication and commitment to ‘his’ musicians as well as his honesty, integrity and fairness impressed me always.”

As the Executive Director of the TMA, Jim negotiated on behalf of the musicians associated with the city’s premiere musical organizations, including the Toronto Symphony, the National Ballet and Canadian Opera Company orchestras, Tafelmusik, Mirvish Productions and the Sony Centre for the Performing Arts. Jim’s work had an impact on musicians across the country as well; at the national level, Jim committed his time to the negotiations of the national Commercial Announcements and CBC agreements, while at the international level he worked with the American Federation of Musicians in negotiating the Sound Recording Labor Agreement and the Film-Television agreement.

Jim could always be counted upon to bring a calming influence to the negotiating table. “The other side is a partner,” he wrote, and one that should be treated with respect. “Everybody loved the man”, says Dan Broome, the TMA’s acting Executive Director, “even the people who were on the opposite side of the table.”

A true Renaissance man, Jim delved into a variety of artistic disciplines over the years. Starting off as an accordionist in high school, he graduated university with a degree in fine arts and then focused on an acting and directing career. As the Artistic Director of Theatre on the Move, he won a Dora award for best children’s theatre. Prior to joining the TMA, Jim served for almost nine years as Actors’ Equity’s business representative.

In a joint statement today, the Stratford Public Library (SPL) and Performing Arts Lodge Stratford (PAL Stratford) announced that the Chalmers Public Theatre Resource Collection and the Richard Monette Library would move to PAL Stratford, located at 101 Brunswick Street, in the New Year.

In 1990 the Floyd S. Chalmers Foundation provided an endowment to create the Chalmers Public Theatre Resource Collection at SPL. The collection became an important community resource for works on history, criticism, and stage craft for students, tourists, and professional practitioners.

However, as online research resources became available, there was a sharp decline in the use of the collection. Due to the limited space available in the Library, a careful “tough love” decision had to be made and a new home for the Chalmers Collection needed to be found.

The question then came to the Board of PAL Stratford. “While there is much detail to be worked out as to physical accommodation and public access, in its deliberation on the matter, the unanimous Board consensus was that the collection must not leave Stratford” said John David Sterne, PAL Stratford Board President. “PAL is not only a residence, it is a centre for social gatherings and supporting professional artistic pursuits. The guardianship of the collection will improve the services that PAL is able to provide to our local community of theatre professional, and will foster new relationships with other researchers that seek out this material. Our volunteers will curate, cultivate, edit and open the collection when needed.” Sterne said.

In addition to the Chalmers Public Theatre Resource Collection, SPL is transferring the Richard Monette Library to the PAL Stratford location. This includes Monette’s personal collection of theatre-related materials, signed gifts and materials with his own marginalia. This collection was donated to SPL in 2008 but was not catalogued for use by the public due to space constraints.

“We are delighted that the materials from the Chalmers and Monette collections will be used and appreciated,” said SPL CEO Julia Merritt. “Transferring these collections offers both organizations an opportunity for future growth and the Library couldn’t be more pleased.”

Brian Macdonald, the legendary director and choreographer behind some of theatre's most beloved musical productions, died at his Stratford home on Saturday at the age of 86.

Macdonald was born in Montreal in 1928 and is widely recognized as a pioneer in Canadian theatre. His talent and expertise were boundless and his productions were admired internationally.

His first introduction to the Stratford Festival came during the theatre's early days. In 1957 his satirical revue My Fur Lady played at what would become the Avon Theatre and then went on to tour 82 Canadian cities with more than 400 performances.

He would return to the Festival in later years and was a member of the company for 17 seasons. He left an indelible mark on the Festival with his fresh approach to several Gilbert and Sullivan operettas like The Mikado, HMS Pinafore and The Pirates of Penzance which also toured across Canada and in London and New York.

“At Stratford he will be especially remembered for reinventing the Gilbert and Sullivan canon,” said Antoni Cimolino, artistic director. “He brought an entirely new and contemporary approach to what, by the early 1980s, had become neglected classics. Under his inventive direction, the updated lyrics and movement sparkled with the same creative lustre as the iconic music. The result, like Brian himself, was unforgettable.”

During his 60-year career, Macdonald was honoured with many prestigious awards among them are the Order of Canada, of which he was one of the first recipients, a Governor General's Performing Arts Award for Lifetime Artistic Achievement, the Molson Prize, Paris International Gold Star for Choreography and Walter Carsen Prize for Excellence in the Performing Arts.

Just last year, Macdonald was awarded a Bronze Star—a program established by Stratford city council in partnership with the Festival back in 2002 to recognize individuals who have contributed to the cultural or social fabric of the city. ​

Despite his many awards his humility remained intact.

“I was completely surprised. I'm very happy they thought of me,” he said after receiving the Bronze Star.

Macdonald's star is in front of the Avon Theatre.

He started his career as a child actor on CBC Radio and later moved to CBC TV as a dancer/ choreographer and began directing live variety shows.

Though he loved ballet an injury ended his dancing career. Regardless, he was a significant part of the Canadian and international ballet scenes. He was a founding member of the National Ballet of Canada and he was closely associated with the Royal Winnipeg Ballet throughout the 1950s and '60s. He headed up important ballet companies in Sweden, The United States and Israel.

Just this past October, though he had cancer, he directed a revival of his 1990 production of Madama Butterfly. It was the sixth time the Canadian Opera Company mounted his production.

His final public appearance was for the curtain calls on opening night.

Macdonald leaves behind his wife Annette av Paul whom he met at the Royal Swedish Ballet in the 1960s, and his son Wyatt. He was predeceased by his first wife Olivia Wyatt.

Macdonald's funeral will be held at W.G. Young Funeral home on Saturday. [Please note change of venue below.]

A memorial will be held at the Festival Theatre on May 3 and, fittingly, the 2015 production of Carousel, a play he once directed at the Festival, will be dedicated to his memory.

The esteemed Canadian director and choreographer Brian Macdonald died Saturday in Stratford, Ont. at the age of 86.

Mr. Macdonald, a charter member of the National Ballet of Canada, went on to direct musical theatre, opera as well as the award-winning productions of Gilbert and Sullivan for Canada's Stratford Festival.

Mr. Macdonald was an early recipient of the Order of Canada, later elevated to the status of Companion in 2002, and received numerous awards over his lifelong career which started when he was a child actor for CBC Radio.

Born May 14, 1928 in Montreal, he leaves behind his wife of 50 years, the former Les Grands Ballets Canadiens ballerina Annette av Paul, and his son from an earlier marriage, Wyatt Macdonald.

A stern task master with a strong, defined perfectionist streak, Mr. Macdonald still worked collaboratively with many Canadian artists including the composers R. Murray Schafer and Gilles Vigneault, as well as visual artists and designers like Robert Prévost and Walter Redinger.

A former dancer, Mr. Macdonald's best partnerships were formed at the ballet, including the National Ballet of Canada, which he joined in 1951 under then-director Celia Franca. In 1956 he founded his own company, the Montreal Theatre Ballet.

Mr. Macdonald worked with the country's leading dance companies, including Les Grands Ballets Canadiens and the Royal Winnipeg Ballet.

He also had a long and fruitful association with the Banff Centre in Alberta, where he served as choreographer, teacher and mentor to several generations of performers for more than 45 years.

Mr. Macdonald had also been artistic director of the Royal Swedish Ballet in Stockholm, one of the oldest and most prestigious classical dance companies in the world, from 1964 to 1967. He then went on to become artistic director of the Harkness Ballet in New York City from 1967 to 1968, and Israel's Batsheva Dance Company from 1971 to 1972.

He created a total of 19 productions at Stratford, including musical theatre and operetta.

Most recently, Mr. Macdonald returned to the stage in October as director of his own production of Puccini's Madama Butterfly for the Canadian Opera Company, which took place in Toronto.

An indefatigable spirit and towering presence in the Canadian arts scene, Mr. Macdonald was a true one-of-a-kind.

Stratford mourns the death of renowned director and choreographer Brian Macdonald"... The Stratford Festival is dedicating the 2015 production of Carousel to Mr Macdonald’s memory.
It will hold a memorial at the Festival Theatre on May 3."

In his 24 seasons with the Stratford Festival, Bernard Hopkins had made that stage a second home. He had captivated audiences and fellow actors in an unforgettable series of roles while treading those boards.

So on Sunday, Hopkins’ friends and family took to the same stage to pay tribute to the man, sharing stories, memories and songs with one final audience.

“Bernard would be so pleased to see so many friends here today,” said artistic director Antoni Cimolino, gazing out at the faces in the Festival Theatre.

Encircled by the costumes from three of his most memorable roles – Parolles from All’s Well That Ends Well, Touchstone from As You Like It and Snug from A Midsummer Night’s Dream – Hopkins’ Stratford Festival family talked about a man with a passion for the “breathless wonder” of theatre.

“Art came first for this man,” Cimolino said. “He fiercely valued, above all else, true service – true service to art and true service to art in ourselves.”

The first speaker at the celebration of Hopkins’ life, Cimolino talked not only of Hopkins’ surpassing talent as an actor, but praised his dedication as both a director and a teacher.

“I’ve lost a mentor and I’ve lost a chum,” Cimolino said. “For the company, the company has lost a voice – a voice that valued innocence and valued beauty, a voice that was filled with joy. He loved this theatre. He loved this stage.

“Let’s remember that voice.”

Hopkins died peacefully on Wednesday, Oct. 22, in the arms of his husband, Ian White.

Actor Lucy Peacock talked about fabulous dinners during their shared time in late-1970s Montreal. Hopkins would summon young actors to his hilltop home for wonderful meals, bottles of wine and hours of conversation.

“We would flock to him and fleet the time carelessly, as they did in the golden age,” Peacock said. “… The wine would flow with gusto, Bern with his cigarette holder and his scarves.”

The discussions, she said, were “challenging, and full of mysteries and metaphors.”

“There was never, ever nothing to discuss, and we would laugh sans intermission.”

In addition to anecdotes from his theatre family, the celebration included a couple of songs from Hopkins’ beloved musicals and a handful of dramatic recitations. Company member Shane Carty performed a rousing She Loves Me from the eponymous musical by Joe Masteroff, Sheldon Harnick and Jerry Bock while actor Thom Allison sang Not While I’m Around from Stephen Sondheim’s Sweeney Todd.

“Bern loved musicals,” Carty said by way of introduction, “and he loved this one.”

Tom McCamus paid tribute to his old friend with a reading of The God Forsakes Antony, a poem by Constantine P. Cavafy. Sharry Flett took to the stage to recite Philip Larkin’s An Arundel Tomb, a poem that was read at the poet’s own memorial service.

“Our almost-instinct almost true: What will survive of us is love.”

Love was also the “leitmotif” of Sara Topham’s remembrances of her friend and mentor.

“It has been my privilege to call Bernard Hopkins my teacher and my friend,” she said. “He taught me about acting, about love and about life … and I know I’m not alone in that experience … He never, ever stopped learning; he never, ever stopped teaching, and he never, ever stopped loving.”

While many friends were able to share their love for Hopkins in person, many others were unable to make the trip to Stratford because of professional commitments. Cimolino and Chick Reid shared some of the letters that had arrived, reading the remembrances from Brian Bedford, the Lear to Hopkins’ Fool, and fellow acots Kelly Handerek, Kyle Blair and Seana McKenna.

“It was his unbridled passion for the theatre that inspired so many of us,” Blair wrote.

The celebration of Hopkins’ life concluded with a performance of the funeral song from Shakespeare’s Cymbeline by actors Stephen Gartner and Gordon S. Miller, who shared the famous lines: “Fear no more the heat o' the sun, Nor the furious winter's rages; Thou thy worldly task hast done, Home art gone, and ta'en thy wages: Golden lads and girls all must, As chimney-sweepers, come to dust.”

After Gartner and Miller left the stage, the entire company, including the audience, finished by singing the hymn, At the River, giving a final shared voice to the celebration.

And then the service ended on another perfect note, with a closing – and rousing – standing ovation for Bernard Hopkins.